HERO IN THE MAKING - d32h38l3ag6ns6.cloudfront.net...John Atkin Managing Director and Chief...
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SUPPORTING PARTNER
2009 SEASON
THURSDAY AFTERNOON SYMPHONY
PRESENTED BY TRUST
HERO IN THE MAKING
Thursday 2 April | 1.30pm
Sydney Opera House Concert Hall
Douglas Boyd conductorPaul Lewis piano
LUDWIG VAN BEETHOVEN (1770–1827)
Fidelio: Overture
Piano Concerto No.2 in B flat, Op.19
Allegro con brioAdagioRondo (Molto allegro)
INTERVAL
Symphony No.2 in D, Op.36
Adagio molto – Allegro con brioLarghettoScherzo (Allegro) and TrioAllegro molto
This concert will be broadcast live across Australia on ABC Classic FM 92.9 on
Friday 3 April 2009 at 8pm.
Pre-concert talk by Peter Czornyj at 12.45pm in the Northern Foyer.
Visit www.sydneysymphony.com/talk-bios
for speaker biographies.
Estimated timings:6 minutes, 28 minutes,
20-minute interval, 32 minutesThe performance will conclude
at approximately 3.15pm.
Trust is proud of its long standing partnership with the SydneySymphony and is delighted to bring you the Thursday AfternoonSymphony series in 2009.
The series offers perfect afternoons with some of the best-lovedcomposers – Beethoven, Mendelssohn, Richard Strauss, Brahms,Prokofiev and many others. These concerts bring together some ofthe world’s most talented conductors and soloists. You’re in for atruly delightful experience.
Just like the Sydney Symphony, which has been the sound of thecity for more than 75 years, entertaining hundreds of thousands ofpeople each year, Trust has been supporting Australians for over120 years.
Whether it be administering an estate or charity, managingsomeone’s affairs or looking after their interests via estate planning,financial planning or funds management, people come to Trustbecause of our personal service and commitment to ensuring ourclients’ interests always come first.
We hope you enjoy a delightful Thursday afternoon with the Sydney Symphony.
John AtkinManaging Director and Chief Executive OfficerTrust Company Limited
2009 SEASON
EMIRATES METRO SERIES
HERO IN THE MAKING
Friday 3 April | 8pm
Sydney Opera House Concert Hall
Douglas Boyd conductorPaul Lewis piano
LUDWIG VAN BEETHOVEN (1770–1827)
Fidelio: Overture
Piano Concerto No.2 in B flat, Op.19
Allegro con brioAdagioRondo (Molto allegro)
INTERVAL
Symphony No.2 in D, Op.36
Adagio molto – Allegro con brioLarghettoScherzo (Allegro) and TrioAllegro molto
This concert will be broadcast live across Australia on
ABC Classic FM 92.9
Pre-concert talk by Peter Czornyj at 7.15pm in the Northern Foyer.
Visit www.sydneysymphony.com/talk-bios
for speaker biographies.
Estimated timings:6 minutes, 28 minutes,
20-minute interval, 32 minutesThe performance will conclude
at approximately 9.45pm.
PRESENTING PARTNER
A First Class experience is always a memorable one. Whether it be exitingyour personal Emirates chauffeur driven car at the airport, ready to be whiskedaway to the Emirates lounge, or entering a concert hall for an unforgettablenight of music, the feeling of luxury and pleasure is the same. SydneySymphony is a first class orchestra in one of the world’s most beautiful cities – and Emirates as a world class airline is proud to be Principal Partner.
With over 400 major international awards for excellence relating to inflightcuisine, customer service and unparalleled entertainment, Emirates has aninternational reputation as the best of the best.
And like the Sydney Symphony, Emirates reaches out to a truly globalaudience, flying to every continent in the world – over 100 destinations – fromits central hub in Dubai.
Emirates confirmed Australia’s status as a premier trade and tourismdestination and its commitment to the country in early 2009 by increasing itsweekly flights to Australia to 63, a number that will grow to 70 by year’s end.In addition, Emirates has also launched an A380 service on the Dubai –Sydney – Auckland route, and will increase services from Sydney to threetimes daily by year’s end.
Emirates is also proud to demonstrate its commitment to the Australianmarket through its varied and continued sponsorships, including its currentassociation with the Melbourne and West Australian symphony orchestrasand, of course, the Sydney Symphony.
We look forward to creating more memorable experiences together in 2009.
HH SHEIKH AHMED BIN SAEED AL-MAKTOUMCHAIRMAN AND CHIEF EXECUTIVE, EMIRATES AIRLINE AND GROUP
2009 SEASON
GREAT CLASSICS
HERO IN THE MAKING
Saturday 4 April | 2pm
Sydney Opera House Concert Hall
Douglas Boyd conductorPaul Lewis piano
LUDWIG VAN BEETHOVEN (1770–1827)
Fidelio: Overture
Piano Concerto No.2 in B flat, Op.19
Allegro con brioAdagioRondo (Molto allegro)
INTERVAL
Symphony No.2 in D, Op.36
Adagio molto – Allegro con brioLarghettoScherzo (Allegro) and TrioAllegro molto
Pre-concert talk by Peter Czornyj at 1.15pm in the Northern Foyer.
Visit www.sydneysymphony.com/talk-bios
for speaker biographies.
Estimated timings:6 minutes, 28 minutes,
20-minute interval, 32 minutesThe performance will conclude
at approximately 3.45pm.
INTRODUCTION
Hero in the Making
Beethoven – the artist as hero. In an age that celebratedinnovation, the individual and the idea of the ‘sublime’,Beethoven captured popular imagination. He still does.The story of his prevailing over deafness through artis one aspect of this, the famous scowl and windswepthair of popular iconography is another. But above all itis his tremendous musical vision coupled with a verypersonal but ‘universal’ philosophy that wins hearts and minds. It is no accident that at the centre ofBeethoven’s musical output is what we call his HeroicPeriod and a ‘heroic’ style. It’s the style of the Eroicaand Fifth symphonies, or the Emperor piano concerto –music where the dramatic rhetoric and the boldgestures echo the fundamentals of heroism: conflictand strength.
This concert traces the path to that reputation.In 1792 Beethoven arrived in Vienna – inheritor of
the Classical musical language but also a pioneer in amusical world that had begun to prize originality aboveall else. He quickly found fame as a pianist and his earlyconcertos were the vehicle for his virtuosity.
At face value he must have seemed an unlikely hero –quarrelsome and uncompromising, often dishevelled –but he was embraced by Vienna’s aristocratic circles,who recognised his musical genius. They encouragedhim to disregard conservative criticism and to foster hisown bold ideas. We tend to hear the Second Symphonyas ‘Classical’, but underneath the surface formalityBeethoven was pushing at musical boundaries and hiscontemporaries knew it.
Beethoven’s political beliefs centred on universalfreedom and moral and physical liberty. Nowhere is thismore obvious than in his music with words: the NinthSymphony and the opera Fidelio, which acquired its finalform (and overture) at the culmination of Beethoven’sHeroic Period.
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ABOUT THE MUSIC
Ludwig van Beethoven
Fidelio: Overture
Beethoven based his only opera, Fidelio, on Léonore,ou L’Amour conjugal (‘Leonore, or Conjugal Love’) byJean-Nicolas Bouilly. He’d read the play in a Germantranslation by the Viennese court secretary – soon to behis librettist – Joseph Sonnleithner.
The themes of Fidelio (or Leonore, as it was originallycalled) encapsulate many of Beethoven’s lifelongconcerns. The story of a political prisoner (Florestan),saved at the point of assassination by his wife Leonore,disguised as a boy (Fidelio), is a paean to freedom, a cry against tyranny at a time when Vienna was occupiedby French troops. ‘In the springtime of my life myhappiness has flown from me’, and ‘I follow my innerdrive; nothing can deter me’ – Florestan and Leonora’swords echo Beethoven’s own poles of despair anddetermination; and they could be considered theemotional core of the opera.
The opera went through several versions and withthese came revisions of the overture. There are four in total: three are known by the name Leonore and thefourth – the one you would hear before a production of the opera today – is simply known as the FidelioOverture.
Beethoven considered the first overture inadequateand discarded it before the opera’s premiere. So theopera first appeared in 1805 with Leonore No.2 as itsoverture. After the opera’s initial failure, Beethoven wasprepared to write off the whole business. But his friendspersuaded him to allow Stephan von Breuning to reviseSonnleithner’s original libretto, and the opera waspresented in its revised form in 1806, with Leonore No.3as its overture. This version, however, was performedonly twice.
The fourth overture, Fidelio, was then written for arevival of the opera in 1814, prepared with furtheramendments to the libretto by Georg FriedrichTreitschke. The opera was at last successful, and isperformed in this final version today, although it hasbecome an established practice (initiated by Mahler)
Keynotes
BEETHOVEN
Born Bonn, 1770Died Vienna, 1827
As a composer, Beethoven
made his mark in nearly
every important genre: his
symphonies, concertos,
sonatas, chamber music,
and even choral works,
form the backbone of the
classical repertoire. He is
not generally thought of as
a composer of operas,
mainly because he wrote
only one, Fidelio. But what
an opera it is! Based on a
French play, Fidelio follows
in the early 19th-century
tradition conveniently
known as ‘rescue opera’ and
reflects Beethoven’s strong
political beliefs.
FIDELIO OVERTURE
Beethoven might have
written only one opera, but
that opera ended up with
four overtures. The overture
known as ‘Leonore No.3’
is the most satisfying in
symphonic terms and is
heard most often in the
concert hall, as well as
often being included as
an interlude in the opera.
The overture that found
success in the theatre was
Beethoven’s final attempt,
the Fidelio Overture (1814),
heard in this concert. It is
not too long for its purpose,
and although it refers to the
music to come it refrains
from giving away the core
of the opera’s drama.
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to play the third Leonore overture between the two scenesof Act II.
Where the third Leonore overture gives theimpression of a dramatic prelude too heavy for theensuing opera – almost a tone poem in its own rightrather than a functional overture – the final FidelioOverture is lighter and more compact. Nonetheless itadopts a formal Classical sonata structure, including aslow introduction and coda – a reminder that this formoperates on its own dramatic terms, determined byconflicts within the music itself.
ADAPTED FROM A SYMPHONY AUSTRALIA NOTE ©2001
The Fidelio Overture calls for pairs of flutes, oboes, clarinets andbassoons; four horns, two trumpets and two trombones; timpaniand strings.
The Sydney Symphony’s first performance on record of the FidelioOverture was conducted by Eugene Goossens in 1946. The mostrecent performance was in 1996, conducted by Mark Elder.
Beethoven, 1814Fidelio – the story
Fidelio concerns the devotion of Leonore to herhusband, Florestan, who has been unjustlyimprisoned by his political enemy Pizarro, thegovernor of the local prison. Leonore goes to theprison disguised as a boy by the name of Fidelio, and is employed as an assistant to the gaoler, Rocco (thus enabling her to search for her missinghusband). When Pizarro learns that Don Fernando,the Minister of State, is coming to inspect the prison,he orders Rocco to kill and bury Florestan. Roccorefuses to murder the prisoner, and Pizarro preparesto do so himself, but Florestan is saved by theintervention of Fidelio/Leonore, who holds Pizarro at bay with a pistol. A trumpeter on the ramparts far above the dungeon signals the arrival of DonFernando, and Leonore and Florestan, rejoicing intheir freedom, go up into the courtyard.
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Ludwig van Beethoven
Piano Concerto No.2 in B flat, Op.19
Allegro con brio Adagio Rondo, molto allegro
Paul Lewis piano
When Beethoven sent the final version of this concertoto his publisher, he gave this estimate of its worth: ‘The concerto I value at ten ducats…I do not give itout as one of my best’. No doubt Beethoven wasadmitting that he had not solved entirely to hissatisfaction the problem of apportioning the rolesbetween soloist and orchestra in his first concerto to be played in Vienna. We also know that uppermostin his mind in composing it may have beenconsolidating his position as a virtuoso pianist, and that his admiration for the achievement of Mozart incomposing piano concertos would lead him to judgehis own efforts severely.
Fortunately, we can forget Beethoven’s self-criticismand enjoy this fresh, unpretentious concerto. Mozartwas a good model, and we need not remind ourselves that Beethoven later achieved, in his fourth and fifthpiano concertos, his own answer to the concertochallenge; we should imagine instead the young virtuosoglorying in his own powers, using this vehicle to conquerthe Viennese public.
The occasion was a concert in the Burgtheater in 1795.Beethoven’s playing in the salons of the aristocracy hadalready gained him a reputation as a solo pianist ofextraordinary skill and daring, and a remarkableimproviser – his skill in this direction may even haveextended to his playing of the solo part in the concerto,for, when he was introducing a concerto himself, he didnot bother to write out the solo part. Later Beethovenrevised the concerto for performances in Vienna andPrague with different soloists, and he withheld it frompublication until 1801, which explains why it is numbered 2 although it was written before the published No.1.
Keynotes
BEETHOVEN
During his lifetime
Beethoven was considered
of the greatest piano
virtuosos of the day,
although his deafness
eventually forced him off
the concert platform. His
piano concertos were written
with his own performance
in mind and the early ones,
in particular, helped make
his name and reputation
in the Viennese musical
scene. Today, Beethoven’s
concertos stand with his
symphonies as staples of
orchestral concerts
everywhere.
PIANO CONCERTO NO.2
Beethoven’s early piano
concertos were like virtuoso
calling cards, and they
reveal something of his
character as a pianist.
‘No.2’ was in fact his first
concerto, premiered in a
public concert organised
by Haydn in 1795, and then
revised in 1798. Mozart is
the model, but Beethoven
is already revealing his
musical personality and
seeking his own solutions to
the longstanding challenge
of how a soloist interacts
with an orchestra.
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Listening Guide
The concerto was the first ‘symphonic’ work ofBeethoven’s to be heard in Vienna, and, not surprisingly,the orchestra spreads its wings at the outset. Onecommentator has identified as many as five themesbefore the piano comes in with a sixth. The crucialphrases are the opening ones: a short flourish fromtonic to dominant and back, followed by a reflectivelyrical phrase. Once the piano is in it dominates thediscourse, with many passages obviously designed toshow off Beethoven’s pianism – especially his legatoruns, played with the thumb under, a technique hepioneered. The cadenza for this movement was notwritten until 1809, perhaps for Beethoven’s pupil, theArchduke Rudolf.
…many passages
obviously designed to
show off Beethoven’s
pianism…
Beethoven, 1800
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The Adagio is a truly slow movement, whereasMozart’s concerto slow movements are usually more moderate andantes. As in many such movements in early Beethoven, the treatment of the theme by the piano becomes increasingly elaborate and decorative. The movement is distinguished by an eloquent – andprophetic – ending, where the soloist has a recitative-like utterance, marked con gran espressione (‘with greatexpression’), alternating with the orchestra’s statementof the theme in broken phrases.
The infectious last movement is a rondo in galloping6/8, whose hunting style is familiar from some ofMozart’s concertos in B flat; but it is more boisterousthan anything in Mozart, mainly through Beethoven’shandling of the off-beat accents. The rhythmic placementof these accents is an important building block of themovement – they are shifted for effect at the beginning of the first couplet of the rondo, and in many otherplaces. There is a pleasant surprise at the end, whereBeethoven again follows Mozart’s precedent byintroducing a new theme in the coda, a popular touch,followed by some Beethovenian humour. This isBeethoven the eloquent entertainer indeed, not muchloved by his fellow-pianists, and we can see why if wecompare this concerto he wrote to display his wares with the contemporary products of Hummel, Dussek,Clementi and others.
© DAVID GARRETT
The orchestra for this concert calls for flute, two oboes, twobassoons, two horns and strings.
The Sydney Symphony’s first performance on record of thisconcerto was in the 1943 Beethoven Festival, with pianist EuniceGardiner and conductor Bernard Heinze. The most recentperformance was in the 1998 Beethoven Experience with ChristianZacharias and conductor Edo de Waart.
This is Beethoven the
eloquent entertainer…
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Ludwig van Beethoven
Symphony No.2 in D major, Op.36
Adagio molto – Allegro con brioLarghettoScherzo (Allegro) and TrioAllegro molto
Beethoven spent the summer of 1802 at Heiligenstadt, inthose days a small village in the countryside but now asuburb of Vienna. Like many composers, Beethoven likedto withdraw to the country to concentrate on his work inpeaceful surroundings, but this year there was an additionalpurpose: the deafness which had become noticeable inthe previous years was now becoming serious, and thecomposer’s physician suggested a prolonged period away from the potentially damaging noise of the city.
As he was preparing to return to Vienna in October1802, Beethoven wrote a curious document that wasfound among his papers after his death. Now known as the ‘Heiligenstadt Testament’, it was a kind of will,addressed to the composer’s two brothers (thoughBeethoven only refers to one by name and the other by a blank space in the manuscript). In it, Beethovenexpresses his anguish about his condition:
what humiliation when someone stood beside me and hearda flute in the distance and I heard nothing, or heard theshepherd singing and again I heard nothing. Such incidentsbrought me to the verge of despair, but little more and I wouldhave put an end to my life – only my art held me back.
The saving art at this time included a number ofviolin sonatas, piano sonatas and bagatelles and theSecond Symphony, which Beethoven completed duringhis stay at Heiligenstadt. It is difficult to find evidence ofa composer in deep despair in this work, however,reminding us of the complex relationship between thelife and work of any artist. But there is a nice symmetryat work. The Second might be seen as a leave-taking of the pastoral/classical tradition in favour of the more‘heroic’ style of the middle period music, but it isHeiligenstadt which Beethoven portrayed in a workwhich marked his victory over fate some years later: the Pastoral Symphony.
Keynotes
BEETHOVEN
By 1802, when his Second
Symphony was completed,
Beethoven had been living
in Vienna for a decade.
He’d found fame as a pianist
and enjoyed strong support
from the city’s aristocratic
circles, willing to cultivate
an innovative composer
who matched their romantic
aspirations. But he had
also arrived at the terrible
realisation that his deafness
was worsening and
irreversible.
SECOND SYMPHONY
To the modern ear the
Second Symphony has all
the hallmarks of a Classical
symphony; Beethoven’s
contemporaries heard it
as ‘bizarre, harsh and
undisciplined’. The
symphony has a Classical
spirit but it’s more
muscular, more brilliant,
more energetic and more
ambitious. The third
movement is the first named
‘scherzo’ in a symphony –
a shift from the elegant
dance music that was
normally placed in this
spot to a spirit of fleeting
exuberance. The finale is
powerful, with a massive
conclusion, which means
the ‘weight’ of this
symphony is at the end, a
far cry from the throwaway
finales of most 18th-century
symphonies. Dedicated to
Prince Lichnowsky, the
Second Symphony was
first performed in 1803.
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Listening Guide
Beethoven’s First Symphony had been greeted as anhonourable, if not always elegant, contribution to thetradition of Haydn and Mozart. To a modern listener,the Second seems a more assured but still essentially‘Classical’ work. Like Haydn, Beethoven generates tenseexpectation in the first movement by using a slowintroduction (and the great scholar Tovey has shownthat Beethoven borrows a specific sequence of chordsfrom Haydn’s Creation in this work). Some hints ofthe mature Beethoven are in evidence, such as thebreathtakingly simple means by which he extends thescale of the first movement, with its lengthy concludingsection or coda. The Larghetto is one of Beethoven’smost serene, pastoral slow movements, and for the firsttime in an orchestral work he uses the term Scherzo
(Italian for ‘joke’ – and it is genuinely funny) for thedance-like third movement. The finale juggles wit andseriousness in a way that is worthy of, but never soundslike, Haydn. For one thing, the movement, balancing the first, is broad in scale and has an extended coda.Beethoven’s orchestral music to date includes the firstthree of his piano concertos, but, as one commentatorhas suggested, in this work he fully engages with theorchestra for the first time.
While we hear a piece of wonderfully crafted Classicalmusic, contemporary critics were not so sure. After thefirst performance (which also included the premieres ofthe Third Piano Concerto and the oratorio Christ on theMount of Olives) one praised the work’s ‘new and originalideas’. Some years later, however, a colleague famouslydescribed the finale as ‘a repulsive monster, a woundedtail-lashing serpent, dealing wild and furious blows as it stiffens into its death agony’, referring, perhaps to theextended coda (Italian for ‘tail’). He hadn’t, as they say,heard nothing yet!
GORDON KERRY ©2004
Beethoven’s Second Symphony calls for pairs of flutes, oboes,clarinets, bassoons, horns and trumpets; timpani and strings.
The Sydney Symphony’s first performance on record of the SecondSymphony was in 1940 under Georg Schneevoigt. The most recentperformance was in 2007, conducted by Gianluigi Gelmetti.
Beethoven, 1802
It is difficult to find
evidence of a composer
in deep despair in this
work… reminding us of
the complex relationship
between the life and
work of any artist.
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GLOSSARY
CADENZA – a virtuoso passage, traditionallyinserted towards the end of a concertomovement and marking the final ‘cadence’.
RESCUE OPERA – this a contentious term,devised and applied retroactively in theearly 20th century. But it is convenientfor referring to a common theme aroundthe turn of the 19th century in which the leading character is rescued fromdanger at the high point of the opera. Its popularity can be traced to France and the French Revolution and, as in Fidelio,the subject often features a politicalprisoner.
RONDO – a musical form in which a mainidea (refrain) alternates with a series ofmusical episodes. Classical composerssuch as Mozart commonly adopted rondoform for the finales to their concertos andsymphonies.
SCHERZO – literally, ‘a joke’; the termgenerally refers to a movement in a fast,light triple time, which may involvewhimsical, startling or playful elements.Most symphonic scherzos include acontrasting central section called a TRIO.The scherzo as a genre was a creation of Beethoven. In earlier symphonies bycomposers such as Mozart and Haydn the third movement of a symphony hadtypically been a minuet (also in a dance-like triple time and also featuring a trio);in Beethoven’s hands it acquired a jokingand playful character as well as a muchfaster tempo.
SONATA STRUCTURE – this analytical termwas conceived in the 19th century todescribe the harmonically based structuremost Classical composers had adopted forthe first movements of their sonatas andsymphonies. It involves the EXPOSITION,or presentation of themes and subjects:the first in the tonic or home key, thesecond in a contrasting key. Traditionally
the exposition is repeated, and the tensionbetween the two keys is then intensified inthe DEVELOPMENT, where the themes aremanipulated and varied as the music movesfurther and further away from the ultimategoal of the home key. Tension is resolved inthe RECAPITULATION, where both subjectsare restated in the tonic. Sometimes a CODA
(‘tail’) is added to enhance the sense offinality.
6/8 – an example of a time-signature, orsymbol for indicating metre in music. Itlooks a lot like a numerical fraction and,with some caveats, can be interpreted in a similar way. In this example the uppernumber (6) indicates the number ofdivisions in the bar, or larger pulse ofthe music, while the lower number (8)indicates the type or value of thosedivisions: so 6/8 can be read as six quavernotes (‘eighth-notes’) in each bar. But as far as the ear is concerned, those six notesare grouped in two lots of three: 1-2-3 4-5-6.The musical result is two beats to the barand distinctive skipping or gallopingrhythms.
In much of the classical repertoire, movementtitles are taken from the Italian words thatindicate the tempo and mood. A selection ofterms from this program is included here.
Adagio – slowAdagio molto – very slowAllegro – fastAllegro con brio – fast, with lifeAndante – at a walking paceLarghetto – slow, not so broad as LargoMolto allegro / Allegro molto – very fast
This glossary is intended only as a quick and easyguide, not as a set of comprehensive and absolutedefinitions. Most of these terms have many subtleshades of meaning which cannot be included forreasons of space.
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Beethoven – the making of a hero
1770 17 December: Beethoven is baptised in Bonn. Haydn is 38 years old,Mozart 14.
1779 Christian Gottlob Neefe arrives in Bonn and becomes Beethoven’sfirst important music teacher.
1783 Beethoven’s first press clipping:…a boy of 11 years and of most promising talent. He plays the piano veryskilfully and with power, reads at sight very well…This youthful genius isdeserving of help to enable him to travel. He would surely become a secondWolfgang Amadeus Mozart if he were to continue as he has begun.
1787 Beethoven visits Vienna briefly. He meets Mozart and probably takes a few lessons with him.
1792 Beethoven leaves Bonn to study with Haydn in Vienna. His friend and patron Count Waldstein writes:You are going to Vienna in fulfilment of your long-frustrated wishes. The Genius of Mozart is still mourning and weeping over the death of herpupil. She found a refuge but no occupation with the inexhaustible Haydn;through him she wishes once more to form a union with another. With thehelp of assiduous labour you shall receive Mozart’s spirit from Haydn’s hands.
In Vienna Beethoven looks for a piano and a wig-maker, seeks outa dancing teacher and finds rooms to rent. He begins studyingcomposition with Haydn.
1795 Beethoven makes his first appearances in Vienna as a composer-virtuoso, playing his own piano concertos (Nos. 1 and 2).
1800 Beethoven gives his first concert for his own benefit. The programincludes a Mozart symphony and numbers from The Creation, as wellas two new pieces of his own, the Septet (Op.20) and the well-receivedFirst Symphony.
1801 Beethoven begins to admit to close friends that he is going deaf. (The condition is thought to have been otosclerosis of the ‘mixed’type: degeneration of the auditory nerve as well as abnormal growthof bone in the middle ear.)
1802 Beethoven writes the Heiligenstadt Testament.
1803 Beethoven presents a benefit concert at the Theater an der Wien. The Second Symphony, Third Piano Concerto and the oratorio Christ on the Mount of Olives are given their premieres and the FirstSymphony is performed as well. Takings: 1800 florins.
The beginning of Beethoven’s so-called ‘Heroic Period’.
TIMELINE
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1804 Beethoven begins work his opera Fidelio (initially known as Leonore).
20 May: Napoleon is declared Emperor. Beethoven reacts bytearing up the title page of his Eroica Symphony (No.3), which hadcontained a dedication to Napoleon.
1805 The Eroica Symphony receives its first public performance. Later in the year the French army occupies Vienna, with Napoleonestablishing his headquarters in the Schönbrunn Palace.Beethoven’s opera is premiered as Leonore.
1806 The second version of Leonore is performed (with the ‘LeonoreOverture No.3’).
1807 The Coriolan Overture is premiered.
1808 In December Beethoven gives a now-famous benefit concert. The four-hour program included the Fifth Symphony, the PastoralSymphony (No.6) and the Fourth Piano Concerto.
1809 31 May: Haydn dies in Vienna, now occupied by Napoleon’s army.During the bombardment earlier in the month, Beethoven hadhidden in his brother’s cellar, covering his head with pillows.
1810 Beethoven’s incidental music for Goethe’s play Egmont ispremiered.
1811 In Leipzig Friedrich Schneider gives the first performance of theEmperor Concerto (No.5, completed in 1809). This is the first ofBeethoven’s concertos not to be introduced by the composerhimself. His student Carl Czerny gives the first Vienneseperformance in 1812.
1812 The Seventh and Eighth symphonies are begun. The Seventh ispremiered in 1813, the Eighth in 1814.
1813 The beginning of Beethoven’s so-called ‘Late Period’. The Frenchforces fall to Spain in the Battle of Vittoria (Beethoven composes a celebratory concert piece, Wellington’s Victory).
1814 First performance of Fidelio in its final form.
1815 Napoleon defeated at Waterloo.
1824 Premiere of the Ninth Symphony. At the conclusion of theperformance the alto soloist Caroline Unger turns Beethoven toface the applause, which he’d not heard in his deafness.
1827 26 March: Beethoven dies in Vienna and is given a grand statefuneral.
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MORE MUSIC
Selected Discography
DOUGLAS BOYD CONDUCTS BEETHOVEN
Last year Douglas Boyd and the ManchesterCamerata Orchestra released a disc withBeethoven’s Fourth and Seventh symphonies – achamber-sized performance that’s been described as gutsy and powerful.
AVIE 2169
From the same artists, Beethoven’s Second andFourth symphonies (2004).
AVIE 40
FIDELIO OVERTURES
As an oboist, Douglas Boyd was principal in theChamber Orchestra of Europe. Nikolaus Harnoncourtconducts this fine ensemble in a collection ofBeethoven’s overtures: the four written for Fidelio,together with Coriolan, Egmont and others.
TELDEC 13140
PIANO CONCERTO NO.2
Paul Lewis’s mentor, Alfred Brendel, recorded thefive Beethoven piano concertos for the third time inthe 1990s, accompanied by Simon Rattle and theVienna Philharmonic. A 3-CD set, this release isadmired for its deep interpretative insight as well as the fine performances.
PHILIPS 462781
SYMPHONY NO.2
The Chamber Orchestra of Europe’s recording of the Second Symphony – again with Harnoncourtconducting – is coupled with the Fifth Symphony in a release from 1999.
TELDEC 75712
An unbeatable period instrument performancecomes from Frans Brüggen and the Orchestra of the 18th Century, originally released by Philips andavailable as a reissue from ArkivMusic.com
PHILIPS 434029
And for a different kind of ‘historical’, the SydneySymphony’s 1952 (mono) recording of the SecondSymphony, conducted by Eugene Goossens, can befound in our 75th Anniversary Collection.
ABC CLASSICS 476 5958–5962
PAUL LEWIS PLAYS BEETHOVEN
Paul Lewis has now completed his set of Beethovensonatas, recorded for Harmonia Mundi. Each of thefour volumes was nominated Editor’s Choice inGramophone, and the final volume was GramophoneRecord of the Year in 2008.
HARMONIA MUNDI 910902; 910903; 901906; 901909
APRIL
3 April, 8pmHERO IN THE MAKING
Douglas Boyd conductorPaul Lewis pianoBeethoven
11 April, 8pmMAHLER 6 (2007)Yannick Nézet-Séguin conductor
18 April, 8pmMOZART IN ITALY (2007)Michael Dauth directorOrli Shaham pianoRossini, Mozart, Respighi
22 April, 1.05pmSONG OF LIFE (2008)Gianluigi Gelmetti conductorIonut Pascu baritone; Anna Rita Taliento soprano;Alexandra Oomens child soprano; Luca Vignali oboe;soloists from the Sydney Symphony; Cantillation
Antill, Taralli, Marcello, Gelmetti
29 April, 8pmSENSE AND SENSUALITY
John Nelson conductorAlban Gerhardt celloBizet, Saint-Saëns, Debussy
Broadcast Diary
sydneysymphony.com
Visit the Sydney Symphony online for concertinformation, podcasts, and to read the program book inadvance of the concert.
HAVE YOUR SAY
Tell us what you thought of the concert online atsydneysymphony.com/yoursayor email: [email protected]
2MBS-FM 102.5SYDNEY SYMPHONY 2009
14 April, 6pmWhat’s on in concerts, with interviews and music.
Selected Sydney Symphony concerts are recorded forwebcast by BigPond and are available On Demand.Visit: sydneysymphony.bigpondmusic.com
March/April webcast:A MIDSUMMER NIGHT’S DREAM
Available On Demand
Webcast Diary
20 | Sydney Symphony
ABOUT THE ARTISTS
Douglas Boyd conductor
JOH
N B
AT
TER
PH
OTO
GR
AP
HYDouglas Boyd is Music Director of Manchester Camerata,
Artistic Partner of Saint Paul Chamber Orchestra,Minnesota, and Principal Guest Conductor of the City ofLondon Sinfonia and the Colorado Symphony Orchestra.He will be the Chief Conductor of the MusikkollegiumWinterthur from 2009/10.
He was born in Glasgow and studied with JanetCraxton at the Royal Academy of Music in London, andwith Maurice Bourgue in Paris. A founding member andprincipal oboe of the Chamber Orchestra of Europe until2002, he now conducts the orchestra on a regular basis.
In 2000 he made his US conducting debut with theGardner Chamber Orchestra. Since then he has conductedat the Mainly Mozart Festival in San Diego and the St Paul Chamber Orchestra (including concerts in NewYork), as well as the Baltimore, Seattle, Detroit, Dallas,Indianapolis, Colorado and Pacific symphony orchestras,and his future plans include concerts with the LosAngeles Chamber Orchestra. In Canada he has conductedthe Toronto Symphony Orchestra and the National ArtsOrchestra, Ottawa.
In the UK he appears as a guest conductor with theRoyal Scottish National Orchestra, the Scottish ChamberOrchestra, London Mozart Players, BBC SymphonyOrchestra, BBC National Orchestra of Wales, BBCPhilharmonic Orchestra, City of Birmingham SymphonyOrchestra, Bournemouth Symphony Orchestra andNorthern Sinfonia. In Europe he has conducted theOrchestre National de Lyon, Tonhalle Orchester Zürich,National Youth Orchestra of Norway, Gürzenich Orchestraof Cologne and the Swedish Chamber Orchestra.
Douglas Boyd is fast developing his interest in opera,and last year he conducted The Magic Flute withGlyndebourne Opera on Tour. In June he will conductFidelio for Garsington Opera, to be followed by The Marriageof Figaro in 2010.
As an oboist he has recorded a Schumann recital,concertos by Bach, Vivaldi, Mozart and R. Strauss, and theLigeti Concerto for flute and oboe. As a conductor he hasrecorded Beethoven symphonies and Mahler’s FourthSymphony with the Manchester Camerata, and Schubertsymphonies for the SPCO’s house label.
This tour is Douglas Boyd’s Sydney Symphony debut.
21 | Sydney Symphony
Paul Lewis piano
HA
RM
ON
IUM
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ND
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IC M
AN
ASPaul Lewis studied with Ryszard Bakst and Joan Havill,
before studying privately with Alfred Brendel. He nowappears regularly at the world’s major musical venues andfestivals, including the BBC Proms and the EdinburghInternational Festival. His highly acclaimed Schubert pianosonata series, presented at venues throughout the UK,including the Wigmore Hall, won him the South BankShow Classical Music Award and the Royal PhilharmonicSociety’s Instrumentalist of the Year Award in 2003, and hisrecordings for Harmonia Mundi have won many awards,including a Diapason d’or de l’année in France (2002), twosuccessive Edison awards in Holland (2004, 2005), and theGramophone Instrumentalist Award (2008). In 2006 he wasawarded the 25th Premio Internazionale AccademiaMusicale Chigiana in Siena.
He tours extensively as a recitalist and concerto soloist,and between 2005 and 2007 he performed a complete cycle of the Beethoven piano sonatas at venues throughoutEurope and North America. He has appeared with theLondon Symphony Orchestra, London PhilharmonicOrchestra, Royal Philharmonic Orchestra, PhilharmoniaOrchestra, BBC Symphony Orchestra and other leadingorchestras in the UK, as well as the Vienna SymphonyOrchestra, Bamberg Symphony and the Seattle Symphony,among others. He has collaborated with conductors such as Colin Davis, Bernard Haitink, Christoph von Dohnányi,Mark Elder, Charles Mackerras, Wolfgang Sawallisch, MarinAlsop, Daniel Harding and Adám Fischer. Last season hebegan a complete Beethoven concerto cycle with the RoyalLiverpool Philharmonic Orchestra and Vasily Petrenko.
In addition to his recently completed Beethoven sonatacycle, his recordings include two prize-winning Schubertdiscs and an all-Liszt disc, and he has recorded Mozartpiano quartets with the Leopold String Trio. He plans torecord the five Beethoven concertos with the BBCSymphony Orchestra and Jiri Belohlávek.
In Australia Paul Lewis has also performed with theMelbourne Symphony Orchestra and next month he toursNorth America with the Australian Chamber Orchestra. His previous appearances for the Sydney Symphony werein 2005, when he performed Beethoven’s Emperor Concertowith Alain Lombard and gave a recital of Beethovensonatas.
22 | Sydney Symphony
THE SYDNEY SYMPHONY
Founded in 1932, the Sydney Symphonyhas evolved into one of the world’s finestorchestras as Sydney has become one of theworld’s great cities.
Resident at the iconic Sydney Opera House,where it gives more than 100 performanceseach year, the Sydney Symphony also performsconcerts in a variety of venues aroundSydney and regional New South Wales.International tours to Europe, Asia and theUSA have earned the Orchestra world-widerecognition for artistic excellence. Last yearthe Sydney Symphony toured Italy, and inOctober 2009 will tour to Asia.
The Sydney Symphony’s first ChiefConductor was Sir Eugene Goossens,appointed in 1947; he was followed byconductors such as Nicolai Malko, DeanDixon, Willem van Otterloo, Louis Frémaux,Sir Charles Mackerras, Stuart Challender,Edo de Waart and, most recently, GianluigiGelmetti. The Orchestra’s history also boastscollaborations with legendary figures suchas George Szell, Sir Thomas Beecham,Otto Klemperer and Igor Stravinsky.
The Sydney Symphony’s award-winningEducation Program is central to the Orchestra’scommitment to the future of live symphonicmusic, developing audiences and engagingthe participation of young people. TheSydney Symphony also maintains an activecommissioning program and promotes the work of Australian composers throughperformances and recordings. Recentpremieres have included major works byRoss Edwards, Liza Lim, Lee Bracegirdle and Georges Lentz, and the Orchestra’srecording of works by Brett Dean wasreleased last year on the BIS and SydneySymphony Live labels.
Other releases on the Orchestra’s ownlabel, established in 2006, includeperformances with Alexander Lazarev,Gianluigi Gelmetti and Sir CharlesMackerras, as well as a boxed set ofRachmaninov orchestral works, conductedby Vladimir Ashkenazy.
This year Vladimir Ashkenazy begins histenure as Principal Conductor and ArtisticAdvisor.
PH
OTO
:KEI
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AU
ND
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PATRON Her Excellency Professor Marie Bashir AC CVO, Governor of New South Wales
23 | Sydney Symphony
MUSICIANS
01First Violins
02 03 04 05 06 07
08 09 10 11 12 13 14
01Second Violins
02 03 04 05 06 07
08 09 10 11 12
First Violins
01 Sun YiAssociate Concertmaster
02 Kirsten WilliamsAssociate Concertmaster
03 Kirsty HiltonAssistant Concertmaster
04 Fiona ZieglerAssistant Concertmaster
05 Julie Batty06 Sophie Cole07 Amber Gunther08 Rosalind Horton09 Jennifer Hoy10 Jennifer Johnson11 Georges Lentz12 Nicola Lewis13 Alexandra Mitchell
Moon Chair14 Léone Ziegler
Marriane BroadfootBrielle Clapson
Second Violins
01 Marina MarsdenPrincipal
02 Emma WestA/Associate Principal
03 Shuti HuangA/Assistant Principal
04 Susan DobbiePrincipal Emeritus
05 Maria Durek06 Emma Hayes07 Stan W Kornel08 Benjamin Li09 Nicole Masters10 Philippa Paige11 Biyana Rozenblit12 Maja Verunica
Vladimir AshkenazyPrincipal Conductor andArtistic Advisor
Michael DauthConcertmaster Chairsupported by the SydneySymphony Board and Council
Dene OldingConcertmaster Chairsupported by the SydneySymphony Board and Council
Guest Musician
Emily Long Second Violin#
# = Contract Musician
24| Sydney Symphony
08Cellos
09 10 11 01 02 03
01Violas
02 03 04 05 06 07
04 05 06 07 08
01Double Basses
02 03 04 05 06 07
Harp01 Flutes
02 03Piccolo
MUSICIANS
Violas
01 Roger BenedictPrincipal ViolaAndrew Turner and Vivian Chang Chair
02 Anne Louise ComerfordAssociate Principal
03 Yvette GoodchildAssistant Principal
04 Robyn Brookfield05 Sandro Costantino06 Jane Hazelwood07 Graham Hennings08 Mary McVarish09 Justine Marsden10 Leonid Volovelsky11 Felicity Wyithe
Cellos
01 Catherine Hewgill Principal CelloTony and Fran Meagher Chair Timothy Walden Principal
02 Leah LynnAssistant Principal
03 Kristy Conrau04 Fenella Gill05 Timothy Nankervis06 Elizabeth Neville07 Adrian Wallis08 David Wickham
Double Basses
01 Kees BoersmaPrincipal
02 Alex HeneryPrincipal
03 Neil BrawleyPrincipal Emeritus
04 David Campbell05 Steven Larson06 Richard Lynn07 David Murray
Harp
Louise JohnsonPrincipal HarpMulpha Australia Chair
Flutes
01 Janet Webb Principal
02 Emma ShollAssociate Principal
03 Carolyn Harris
Piccolo
Rosamund PlummerPrincipal
25 | Sydney Symphony
Cor Anglais Clarinets Bass Clarinet
Oboes
01 Diana Doherty Principal OboeAndrew Kaldor and Renata Kaldor AO Chair
02 Shefali PryorAssociate Principal
Cor Anglais
Alexandre OgueyPrincipal
Clarinets
01 Lawrence Dobell Principal
02 Francesco CelataAssociate Principal
03 Christopher Tingay
Bass Clarinet
Craig WernickePrincipal
Bassoons
01 Matthew WilkiePrincipal
02 Roger BrookeAssociate Principal
03 Fiona McNamara
Contrabassoon
Noriko ShimadaPrincipal
Horns
01 Robert JohnsonPrincipal
02 Ben JacksPrincipal
03 Geoff O’ReillyPrincipal 3rd
04 Lee Bracegirdle05 Euan Harvey06 Marnie Sebire
Trumpets
01 Daniel Mendelow Principal
02 Paul Goodchild Associate Principal TrumpetThe Hansen Family Chair
03 John Foster04 Anthony Heinrichs
Trombone
01 Ronald PrussingPrincipal TromboneNSW Department of State and Regional Development Chair
02 Scott KinmontAssociate Principal
03 Nick ByrneRogenSi International Chair
Bass Trombone
Christopher Harris Principal
Tuba
Steve RosséPrincipal
Timpani
Richard MillerPrincipal
Percussion
01 Rebecca LagosPrincipal
02 Colin Piper
Piano
Josephine AllanPrincipal (contract)
01Bassoons Contrabassoon Horns
02 03 01 02 03
01Oboes
02 01 02 03
04 05 06 01Trumpets
02 03 04
01Trombones
02 03Bass Trombone Tuba Timpani
01Percussion
02Piano
MUSICIANS
PLATINUM PARTNERS
GOLD PARTNERS
PRINCIPAL PARTNER
26 | Sydney Symphony
The Company is assisted by the NSW Government through Arts NSW
SALUTE
MAJOR PARTNERS
GOVERNMENT PARTNERS
SILVER PARTNERS
REGIONAL TOUR PARTNERS
27 | Sydney Symphony
The Sydney Symphony applauds the leadership role our Partners play and their commitment to excellence,innovation and creativity.
BRONZE PARTNERS MARKETING PARTNERS PATRONS
Australia Post
Austrian National Tourist Office
Bimbadgen Estate Wines
Vittoria Coffee
Avant Card
Blue Arc Group
Lindsay Yates and Partners
2MBS 102.5 –Sydney’s Fine Music Station
The Sydney Symphony gratefullyacknowledges the many music loverswho contribute to the Orchestra by becoming Symphony Patrons.Every donation plays an importantpart in the success of the SydneySymphony’s wide ranging programs.
28 | Sydney Symphony
A leadership program which links Australia’stop performers in the executive and musicalworlds.
For information about the Directors’ Chairsprogram, please call (02) 8215 4619.
01 02 03
04 05 06
0907
DIRECTORS’ CHAIRS
01Louise JohnsonPrincipal HarpMulpha Australia Chair
02Richard Gill OAMArtistic Director Education –Sandra and Paul SalteriChair
03Ronald PrussingPrincipal TromboneNSW Department of Stateand Regional Development Chair
04Michael Dauth and Dene OldingBoard and Council of the Sydney Symphonysupports the Concertmaster Chairs
05Nick ByrneTromboneRogenSi Chairwith Gerald Tapper,Managing Director RogenSi
06Alexandra MitchellViolinMoon Design Chairwith Stuart O’Brien,Managing Director Moon Design
07Diana DohertyPrincipal Oboe Andrew Kaldor and Renata Kaldor AO Chair
KEI
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08
KEI
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08Paul Goodchild Associate Principal TrumpetThe Hansen Family Chair
09 Catherine Hewgill Principal CelloTony and Fran Meagher Chair
29 | Sydney Symphony
Henry & Ruth WeinbergAudrey & Michael Wilson °Jill WranAnonymous (11)
Supporters over $500Mr C R Adamson §Gabrielle Blackstock °‡A I Butchart °*Mr John AzariasMs Wendy BlackBlack CommunicationsMr G D Bolton °Dr & Mrs Hannes Boshoff §M BulmerMarty Cameron §Hon. Justice J C & Mrs
Campbell °*Mr B & Mrs M Coles °Mrs Catherine Gaskin
Cornberg§Jen Cornish °Mr Colin DraperMrs Francine J Epstein °Dr & Mrs C Goldschmidt §In memory of Angelica
Green §In memory of Oscar GrynbergMr Ken Hawkings °*Dr Heng & Mrs Cilla Tey §Rev H & Mrs M Herbert °*Dr & Mrs Michael Hunter §Mr Philip Isaacs OAM °§Mrs Greta James *Mr Stephen Jenkins *Mrs Jannette King *Julia King §Erna & Gerry Levy AM §Mr Gary Linnane °§Mr & Mrs S C Lloyd °Mr Ian & Mrs Pam McGaw *Ms Julie Manfredi-HughesJustice Jane Mathews AO §Helen Morgan *Mrs Rachel O’Conor °Mrs S D O’TooleMrs Jill Pain ‡Mr Tom PascarellaDr Kevin Pedemont *PTW Architects §Mr L T & Mrs L M Priddle *Mrs B Raghavan °Mr M D Salamon §In memory of H St P Scarlett §Mr & Mrs Richard Toltz °Mr Andrew & Mrs Isolde
TornyaRonald Walledge °Louise Walsh & David Jordan °Miss Jenny WuAnonymous (13)
PLAYING YOUR PART
MaestriBrian Abel Geoff & Vicki Ainsworth *Mrs Antoinette Albert §Mr Robert O Albert AO *‡Mr Terrey & Mrs Anne Arcus §†Tony & Carol BergAlan & Christine Bishop °§Tom Breen & Rachael KohnSandra & Neil Burns *Mr Ian & Mrs Jennifer Burton °Libby Christie & Peter
James °§Mr John C Conde AO °§†Mr John Curtis §Mrs Ashley Dawson-Damer °Eric Dodd†Penny Edwards °*Mr J O Fairfax AO *Fred P Archer Charitable Trust§Dr Bruno & Mrs Rhonda
Giuffre*In memory of Hetty Gordon §Mr Harcourt Gough §Mr James Graham AM &
Mrs Helen Graham †Mr Ross GrantMr David Greatorex AO &
Mrs Deirdre Greatorex §The Hansen Family §Mr Stephen Johns §†Mr Andrew Kaldor &Mrs Renata Kaldor AO §H Kallinikos Pty Ltd §Mrs Joan MacKenzie §Tony & Fran MeagherMrs T Merewether OAM Mr B G O’Conor °§Mrs Roslyn Packer AO °The Paramor Family *The Ian Potter Foundation °Rodney Rosenblum AM &
Sylvia Rosenblum *Mr Paul & Mrs Sandra
Salteri °†Mrs Penelope Seidler AMMrs Joyce Sproat &
Mrs Janet Cooke §Mr Peter Weiss AM and
Mrs Doris WeissWestfield GroupGeoff Wood & Melissa WaitesAnonymous (1)
VirtuosiMr Roger Allen &
Mrs Maggie GrayMr Charles Barran §Mr Robert & Mrs L Alison
Carr §Mrs Emily Chang §Mr Bob & Mrs Julie
Clampett °§Mr Robert Gay §Ms Ann Lewis AMHelen Lynch AM &
Helen Bauer°Mr & Mrs David Milman §Mr David Maloney §The Perini Family FoundationMiss Rosemary Pryor *Bruce & Joy Reid Foundation*Mrs Helen Selle §The Sherry Hogan
Foundation °David Smithers AM & Family °§Ms Gabrielle Trainor °In memory of Dr William &
Mrs Helen Webb ‡Michael & Mary Whelan
Trust §Anonymous (1)
SoliMs Jan Bowen °§Mr Peter CoatesMs Elise Fairbairn-SmithHilmer Family Trust §Irwin Imhof in memory of
Herta Imhof °‡Mr Bob LongwellMr James & Mrs Elsie Moore °Ms Julie Taylor ‡Ray Wilson OAM & the late
James Agapitos OAM*Anonymous (2)
TuttiMr Henri W Aram OAM §Mr David Barnes °Mrs Joan Barnes °Doug & Alison Battersby °Mr Stephen J Bell *‡Mr Phil BennettNicole Berger *Mr Mark BethwaiteMr Alexander & Mrs Vera
Boyarsky §Mr David S Brett *§Mr Maximo Buch *Mrs Lenore P Buckle §Debby Cramer & Bill Caukill §Joan Connery OAM °§Mr & Mrs R Constable °‡Mr John Cunningham SCM &Mrs Margaret Cunningham °§Mr Greg DanielLisa & Miro Davis *Ms Michelle Hilton Vernon°Ian Dickson & Reg Holloway°Mr Russell Farr
Mr Ian Fenwicke & Prof Neville Wills §
Anthony Gregg & Deanne Whittleston ‡
Mrs Akiko Gregory °Miss Janette Hamilton °‡Mr Charles Hanna †Ms Ann Hoban °Dr Michael Joel AM &
Mrs Anna Joel °Ms Judy JoyeMr & Mrs E Katz §Mrs Margaret Keogh °*Miss Anna-Lisa Klettenberg §Mr Andrew Korda &
Ms SusanPearsonMr & Mrs Gilles T Kryger °§Mr Justin Lam §Dr Barry LandaMrs Belinda Lim &
Mr Arti Ortis §Mrs Alexandra Martin & the
late Mr Lloyd Martin AM §Mrs Mora Maxwell °§Mrs Judith McKernan °§Mr Robert & Mrs Renee
Markovic °§Wendy McCarthy AO °Mr Matthew McInnes §Judith McKernan°Mrs Barbara McNulty OBE §Kate & Peter Mason °†Ms Margaret Moore &
Dr Paul Hutchins *Mr R A Oppen §Mr Robert Orrell °Timothy & Eva Pascoe §Ms Patricia Payn °§Mrs Almut PiattiMr Adrian & Mrs Dairneen
PiltonMs Robin Potter °§Mr Ernest & Mrs Judith
Rapee §Dr K D Reeve AM °Mrs Patricia H Reid §Dr John Roarty in memory of
Mrs June RoartyPamela Rogers °‡Mr Brian Russell & Mrs Irina
SinglemanMs Juliana Schaeffer §Robyn Smiles §The Hon. Warwick SmithDerek & Patricia Smith §Catherine Stephen §Mr Fred & Mrs Dorothy
Street ‡§Mr Michael & Mrs Georgina
SuttorMr Georges & Mrs Marliese
Teitler §Mr Ken Tribe AC &
Mrs Joan Tribe §Mr John E Tuckey °Mrs Merle Turkington °Ms Mary Vallentine AO §Mr and Mrs John van Ogtrop
Patron Annual Donations Levels
Maestri $10,000 and above Virtuosi $5000 to $9999 Soli $2500 to $4999 Tutti $1000 to $2499 Supporters $500 to $999
To discuss givingopportunities, please callCaroline Sharpen on (02) 8215 4619.
° Allegro Program supporter* Emerging Artist Fund supporter‡ Stuart Challender Fund supporter§ Orchestra Fund supporter † Italian Tour supporter
The Sydney Symphony gratefully acknowledges the music lovers who donate to theOrchestra each year. Each gift plays an important part in ensuring our continuedartistic excellence and helping to sustain important education and regional touringprograms. Please visit sydneysymphony.com/patrons for a list of all our donors,including those who give between $100 and $499.
30 | Sydney Symphony
Sydney Symphony Board Maestro’s Circle
BEHIND THE SCENES
CHAIRMAN
John C Conde AO
Libby Christie Ewen CrouchJohn CurtisJennifer HoyStephen JohnsAndrew KaldorGoetz RichterDavid Smithers AM
Gabrielle Trainor
Sydney Symphony Council
Geoff AinsworthAndrew Andersons AO
Michael Baume AO*Christine BishopDeeta ColvinGreg Daniel AM
John Della Bosca MLC
Alan FangErin FlahertyDr Stephen FreibergRichard Gill OAM
Donald Hazelwood AO OBE*Dr Michael Joel AM
Simon Johnson Judy JoyeYvonne Kenny AM
Gary LinnaneAmanda LoveThe Hon. Ian Macdonald MLC*Joan MacKenzieSir Charles Mackerras CH AC CBE
David MaloneyDavid MaloufJulie Manfredi-HughesDeborah MarrThe Hon. Justice Jane Mathews AO*Danny MayWendy McCarthy AO
John MorschelGreg ParamorDr Timothy Pascoe AM
Stephen Pearse
Jerome RowleyPaul SalteriSandra SalteriJacqueline SamuelsJulianna SchaefferLeo Schofield AM
Ivan UngarJohn van Ogtrop*Justus Veeneklaas*Peter Weiss AM
Anthony Whelan MBE
Rosemary WhiteKim Williams AM
* Regional Touring Committee member
Sydney Symphony Regional Touring Committee
The Hon. Ian Macdonald MLC
Minister for Primary Industries, Energy, MineralResources and State Development
Dr Richard Sheldrake Director-General, Department of Primary Industries
Mark Duffy Director-General, Department of Water and Energy
Colin Bloomfield Illawarra Coal BHPBilliton
Stephen David Caroona Project, BHPBilliton
Romy Meerkin Regional Express Airlines
Peter Freyberg Xstrata
Tony McPaul Cadia Valley Operations
Terry Charlton Snowy Hydro
Sivea Pascale St.George Bank
Paul Mitchell Telstra
John Azarias Deloitte Foundation
Peter King Royal Agricultural Society
Gerard Lawson Sunrice
Grant Cochrane The Land
John C Conde AO – Chairman
Peter Weiss AM – Founding President, Maestro’s Circle
Geoff & Vicki AinsworthTom Breen & Rachael KohnAshley Dawson-DamerIn memory of Hetty & Egon GordonAndrew Kaldor & Renata Kaldor AO
Roslyn Packer AO
Penelope Seidler AM
Westfield Group
Sydney Symphony Staff
MANAGING DIRECTOR
Libby Christie
ARTISTIC OPERATIONS
DIRECTOR OF ARTISTIC PLANNING
Peter Czornyj
Artistic Administration
ARTISTIC ADMINISTRATION MANAGER
Raff WilsonARTIST LIAISON MANAGER
Ilmar Leetberg
Education Programs
EDUCATION MANAGER
Kim WaldockARTIST DEVELOPMENT MANAGER
Bernie HeardEDUCATION ASSISTANT
Rebecca Whittington
Library
LIBRARIAN
Anna CernikLIBRARY ASSISTANT
Victoria GrantLIBRARY ASSISTANT
Mary-Ann Mead
EXTERNAL RELATIONS
DIRECTOR OF EXTERNAL RELATIONS
Rory Jeffes
Development
HEAD OF CORPORATE RELATIONS
Leann MeiersCORPORATE RELATIONS EXECUTIVE
Julia OwensCORPORATE RELATIONS EXECUTIVE
Seleena SemosHEAD OF PHILANTHROPY
Caroline SharpenDEVELOPMENT EXECUTIVE
Kylie AnaniaEVENTS COORDINATOR
Lisa Davies-Galli
Publications
PUBLICATIONS EDITOR AND MUSIC PRESENTATION MANAGER
Yvonne Frindle
Public Relations
PUBLIC RELATIONS MANAGER
Yvonne ZammitPUBLICIST
Stuart Fyfe
SALES AND MARKETING
DIRECTOR OF SALES & MARKETING
Mark J ElliottMARKETING MANAGER, SUBSCRIPTION SALES
Rebecca MacFarlingMARKETING MANAGER, CLASSICAL SALES
Simon Crossley-MeatesMARKETING MANAGER, COMMERCIAL SALES & RECORDINGS
Penny EvansNETWORK GROUP SALES MANAGER
Lucia CasconeONLINE MANAGER
Kate TaylorMARKETING & MEDIA ASSOCIATE
Antonia FarrugiaGRAPHIC DESIGNER
Christie HutchinsonDATA ANALYST
Varsha Karnik
Box Office
ACTING MANAGER OF TICKETING &CUSTOMER SERVICE
Paul HansonBOX OFFICE COORDINATOR
Natasha PurkissGROUP SALES COORDINATOR
Matt LilleyCUSTOMER SERVICE REPRESENTATIVES
Michael DowlingErich Gockel
ORCHESTRA MANAGEMENT
DIRECTOR OF ORCHESTRAMANAGEMENT
Aernout KerbertACTING DEPUTY ORCHESTRAMANAGER
Greg LowACTING ORCHESTRAL COORDINATOR
Stephanie MirowOPERATIONS MANAGER
Kerry-Anne CookTECHNICAL MANAGER
Derek CouttsPRODUCTION COORDINATOR
Tim DaymanPRODUCTION COORDINATOR
Ian SpenceSTAGE MANAGER
Peter Gahan
BUSINESS SERVICES
DIRECTOR OF FINANCE
John HornFINANCE MANAGER
Ruth TolentinoACCOUNTS ASSISTANT
Li LiPAYROLL OFFICER
Usef Hoosney
HUMAN RESOURCES
HUMAN RESOURCES MANAGER
Ian Arnold
COMMERCIAL ENTERPRISES
COMMERCIAL ENTERPRISES
MANAGER
Jeremy Curran
RECORDING ENTERPRISES
EXECUTIVE
Philip Powers
31 | Sydney Symphony
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SYDNEY OPERA HOUSE TRUST
Mr Kim Williams AM (Chair)Mr John BallardMr Wesley EnochMs Renata Kaldor AO
Ms Jacqueline Kott Mr Robert Leece AM RFD
Ms Sue Nattrass AO
Mr Leo Schofield AM
Ms Barbara WardMr Evan Williams AM
EXECUTIVE MANAGEMENT
CHIEF EXECUTIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Richard EvansDIRECTOR, FINANCE & INNOVATION . . . . . . . . . . . . . . . . . . . .David AntawDIRECTOR, MARKETING & DEVELOPMENT . . . . . . . . . . . . . . .Victoria DoidgeDIRECTOR, PERFORMING ARTS . . . . . . . . . . . . . . . . . . . . . . . . .Rachel HealyDIRECTOR, BUILDING DEVELOPMENT & MAINTENANCE . . .Greg McTaggartDIRECTOR, COMMERCIAL & OPERATIONS . . . . . . . . . . . . . . .Maria Sykes
SYDNEY OPERA HOUSE
Bennelong PointGPO Box 4274, Sydney NSW 2001Administration (02) 9250 7111Box Office (02) 9250 7777Facsimile (02) 9250 7666Website sydneyoperahouse.com